| | Songbook Jammil E Uma Noites 10 Anos CD - Import Jammil E Uma Noites Discography of CDs
Songbook Jammil E Uma Noites 10 Anos Music | List Price | $56.99 (You save $4.44) | | Category | World Albums, Brazilian CDs | | Label | Phantom | | CD Universe Part number | 7573821 | | Discs | 1 | | Release Date | Dec 04, 2007 | | Additional Info | Import |
Songbook Jammil E Uma Noites 10 Anos Review
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With their ambitious debut album, 2006's The Call of the Wretched Sea, Germany's tellingly named Ahab embark on a treacherous voyage to reinterpret Herman Melville's immortal whaling adventure, Moby Dick, through the suitably equivalent sonic leviathan of funereal doom metal -- or, as they are eager to dub it themselves: "Nautik Funeral Doom." Of course one need only look back a couple of years to find Mastodon's more oblique treatise on the very same literary subject, via their own Leviathan album; but what Ahab lacks in outright originality, they handily make up for with The Call of the Wretched Sea's meticulously assembled husks of words and music (plus, in terms of pure heaviness, this leviathan makes Mastodon's sound as light as a sparrow!). The titanic tandem of "Below the Sun" and "The Pacific" steers listeners away from port, and casts them directly down into the darkest ocean abyss with slothful, somber synthesizer melodies, cataclysmic downtuned guitar waves, and echoing percussive thunders. These provide a formidable frame for lyrics frequently adapted directly ...
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A salvo of yangqin music from Xu Pingxin, one of the early post-Cultural Revolution players of the instrument in China, and now a roving musician based in Canada. Pingxin touches on a series of different styles for this, probably the most modern instrument in the arsenal of Chinese classical music. The album opens up with a basic sort of piece, a pastoral. From here, he moves into the first of two core pieces from the Jiangnan Sizhu repertoire (classic silk and bamboo music, largely from the Shanghai area), and displays intense speed in some of the passages. With the first diversion to the western realms of China, he explores music from the Xinjian region that holds some mysterious parallels with Eastern European dulcimer music as well -- with more cultural autonomy over the ages, the Uighurs (and other ethnic groups) have explored and kept different stylistic elements than have the main Han groups. A couple of pieces from the Cantonese repertoire are presented, with more of a pensive mood to them and a very full sound. Maintaining the whirlwind tour of styles, Pingxin touches down in the Manchurian style for a couple of tunes, with its emphasis on different playing techniques -- tremolos, trembling strokes, etc. These techniques form some of the connective tissue between the relatively modern and foreign yangqin and the older, classical instruments such as the qin, with its heavy use of tension techniques in playing. A stray Sichuan piece emulates the Shanghai style in some ways, and more music from the Xinjian regions provides a rare Chinese example of the Arab maqam idea, with a long and careful exploration of the scale as one might do on ...
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